When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting... See full summary »
Helena Bonham Carter,
An impoverished woman who has been forced to choose between a privileged life with her wealthy aunt and her journalist lover, befriends an American heiress. When she discovers the heiress is attracted to her own lover and is dying, she sees a chance to have both the privileged life she cannot give up and the lover she cannot live without.
Helena Bonham Carter,
Encounter of three social classes of the England at the beginning of the century : the victorian capitalists (the Wilcoxes) considering themselves as aristocrats, whose only god is money ; the enlightened bourgeois (the Schlegels), humanistic and philanthropist ; and the workers (the Basts), fighting to survive. The Schlegel sisters' humanism will be torn apart as they try both to softly knock down the Wilcox's prejudices and to help the Basts. Written by
Anthony Hopkins was the first actor cast for the movie. In an interview with Ivory & Merchant on the Merchant Ivory Collection DVD, Ivory says he passed a copy of the script to Anthony Hopkins via a Sound Editor for The Silence of the Lambs (1991) that he knew, "Thereby bypassing all the agents all over the place." Anthony read the script and told Ivory he was very interested in taking the role. See more »
During the kiss with Paul, and during the music hall scenes, Helen is wearing a wristwatch. While wristwatches did exist at the time they were rare, and women normally wore a brooch type of timepiece. The wristwatch would not become common until the first world war, when they were given to soldiers to allow them to see the time while both hands were engaged. See more »
Dearest Meg, I'm having a glorious time. I like them all. They are the very happiest, jolliest family that you can imagine. The fun of it is that they think me a noodle, and say so - at least, Mr. Wilcox does. Oh Meg, should we ever learn to talk less.
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If it's raining, if it's late, if I'm tired of working, if I'm restless or if I'm in a quandary of sorts, "Howard's End". I put the film on and Emma Thompson - presumably with the help of her accomplices, Ivory, Jhavhala, Hopkins etc - takes me away from whatever mood I'm trying to escape and leads me through her own, brilliantly drawn, gently torturous path. I don't recall when was the last time an actress has had this kind of power over my own psyche. The film is constructed with an Ivory attention to detail worthy of a vintage Visconti. The screenplay has no lapses of any kind and never falls into the usual traps. Loyal to its source material and yet, cinematic in the most revolutionary traditional sense of the word. The Britishness of Anthony Hopkins character is turned upside down giving us a glimpse into a character that's a mass of contradictions. But it is Emma Thompson's film from beginning to end. What a glorious achievement.
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